In the 1940s and 1950s, the United States experienced a significant transformation in women's roles and expectations that were driven by socio-economic and cultural factors. The cultural landscape of the time was rife with stifling gender roles and sexual norms imposed upon women. They were often viewed solely through the lens of wives, mothers, and caretakers. However, the post-World War II era saw an unprecedented shift in gender dynamics, as women took on a more active role in the labor market, responding to the urgent need for workforce expansion during wartime and subsequently the demands of the booming post-war economy. Prior to this period, women's participation in the labor market was relatively limited, with the Gross Domestic Product (GDP) in 1940 standing at $101.4 billion. However, by 1960, following the influx of women into the workforce, the GDP surged to $543.3 billion, illustrating the profound economic impact of this societal change. Coincidentally, a subversive feminist art movement emerged like a beacon of resistance, illuminating an alternative path to female empowerment. Challenging the rigid expectations of women, these audacious artists shattered artistic conventions and dared to defy societal norms through their expressive creations. One of those audacious artists was Georgia O’Keeffe.
Georgia O'Keeffe's Early Life
Georgia Totto O'Keeffe, also known as the "Mother of American Modernism," was a modernist painter born on November 15, 1887, in the farmlands of Prairie Sun, Wisconsin. She was the second of seven children, born to her two dairy farmer parents. O'Keeffe began her artistic journey early in her childhood, deciding to become an artist at the age of nine. Her remarkable artistic legacy is defined by her striking portrayals of magnified flowers, impressive New York City skyscrapers, and the captivating landscapes of New Mexico. In her lifetime, O' Keefe painted over 200 pictures of flowers, many of which seemingly displayed strong sexual Freudian overtones that the artist denied throughout her life.
Georgia O'Keefe (Public domain, via Wikimedia Commons)
Georgia, O'Keeffe. Blue and Green Music, 1919-1921. (Art Institute of Chicago via Public Domain)
O'Keeffe's art is characterized by her use of vibrant colors, bold lines, and abstract forms. Her paintings of flowers, landscapes, and other natural forms were often zoomed in, focusing on the intricate details of the subject matter. This technique created an almost ethereal quality to her work, making it both beautiful and thought-provoking. Her art also reflected her love for the American Southwest, where she lived for much of her life. Her paintings of the desert landscapes captured the stark beauty of the region, and her images of the natural world conveyed her fascination with the power of nature. O’keeffe found solace in relocating, New Mexico and interacting with nature.
"I know now that most people are so closely concerned with themselves that they are not aware of their own individuality. I can see myself, and it has helped me to say what I want to say—in paint."
~ Georgia O'Keeffe
O'Keeffe's Winding Path to Success
In 1908, Georgia O'Keeffe secured a scholarship to enroll in the study of still life at Amitola, the Art Students League Outdoor School situated in Lake George, New York. This milestone event marked the inception of her exposure to the practice of plein air painting, which established a crucial personal association with Lake George and its surroundings as the principal subject matter for her artistic expression.
From there she went on to hold various teaching appointments at various secondary schools as well as the University of Virginia. Yet, it was her relationship with feminist artist and women’s rights advocate, Anita Pollitzer that would put in motion a chain of events that would mark her creative destiny as an artist and activist. In 1916, O’Keefe joined the National Women’s Party (NWP) where Pollitzer was already a dedicated activist and speaker for the movement.
Harris & Ewing, Washington, D.C. Anita Pollitzer. South Carolina Charleston, ca. 1916. (Photograph, Library of Congress)
That same year, Pollitzer presented a selection of O’Keefe’s abstract drawings to Alfred Stieglitz at the 291 gallery in New York. Stieglitz was deeply impressed by O'Keeffe's work and conveyed his admiration to her via a written communication, acknowledging the ineffable nature of the emotional response her art elicited. This exchange marked the inception of a frequent correspondence as well as a long and enduring relationship between the two artists.
Art and Love: Alfred Stieglitz and Georgia O'Keeffe
Georgia O'Keeffe and Alfred Stieglitz Correspondence Letters to Henwar Rodakiewicz, 1933. Manuscript/Mixed Material. Library of Congress.
“I'm getting to like you so tremendously that it some times scares me," O'Keeffe writes from Canyon, Texas, on Nov. 4, 1916. " ... Having told you so much of me — more than anyone else I know — could anything else follow but that I should want you — "
~ Georgia O'Keeffe's letter to Alfred Stieglitz
The art world has seen many extraordinary collaborations, but few can match the impact and influence of Georgia O'Keeffe and Alfred Stieglitz. This iconic couple, a celebrated painter and a pioneering photographer, married in 1924, after Stieglitz's divorce from his first wife, and forged a union of love and art that shaped the landscape of American modernism and inspired generations of artists to come.
LEGACY WALL MEET OUR LEGACY DONORS Dellis Frank Laura Morrison Sandra Mueller Barbara A. Wolanin As a longtime WCA member, I treasure the relationships forged, lessons learned and challenges addressed that continue to bind us together. We are at our best when we...
Feminist art and Women's art are two terms that are often used interchangeably, but they represent two distinct concepts in the art world. Feminist art is a category of art associated with the late 1960s and 1970s feminist movement, focusing on themes of gender equality, patriarchy, and the experience of women. It is often political and seeks to challenge and change societal norms and stereotypes about gender roles.
On the other hand, Women's art refers more broadly to any artwork created by women. It does not necessarily carry the same political or social motivations as Feminist art; instead, it encompasses a wide range of styles, themes, and perspectives as diverse as women themselves. While Feminist art is inherently tied to activism and gender discourse, Women's art is not limited to these themes and can be about any subject matter or concept.
Hein, Laura Elizabeth, Rebecca Jennison, and Taeko Tomiyama. Imagination without borders: feminist artist Tomiyama Taeko and social responsibility. Ann Arbor: Center for Japanese Studies, the University of Michigan, 2010. Image. https://www.loc.gov/item/2020715710/.
Feminism and Its Influence On Women's Art
Feminism started as an activist movement that addressed various social issues related to the rights of women and their supposed place in society. It aimed to address gender inequalities and used political campaigns to bring attention to these disparities. Some of the issues that were initially included, which are still relevant today, are equal pay, sexual harassment and violence, maternity leave, women’s suffrage, reproductive rights, domestic violence, and women’s liberation, among others.It is important to understand these distinctions to appreciate the contributions and contexts of each category within the broader scope of art history.
Artemisia Gentileschi, Public domain, via Wikimedia Commons
The evolution of Women's art over time is a reflection of the shifting roles and perceptions of women in society. From the early days when women artists were often overshadowed by their male counterparts, Women's art has grown to become a vital part of the art world. In the Renaissance and Baroque periods, women artists such as Artemisia Gentileschi began to gain recognition, although they were still the exception rather than the rule.
As society progressed, so did the opportunities for women artists. The 19th and early 20th centuries saw an increase in female artists making their mark, with figures like Mary Cassatt and Georgia O'Keeffe challenging the norms of their time. In the 1960s and 70s, the feminist movement played a vital role in advancing Women's art. Women artists had been underrepresented in the art world for centuries, but this period marked a turning point. Women artists used their artwork to express their perspectives on gender equality and women's rights, making bold statements that challenged the status quo. They tackled issues such as objectification, discrimination, and the marginalization of women in society. This movement led to the emergence of feminist aesthetics and the recognition of Women's art as a separate and important form of artistic expression. Consequently, the Feminist movement of the 1960s and 70s played a crucial role in elevating Women's art to the forefront of the art world. In the 1970s, black women artists made significant contributions to the world of art, challenging stereotypes and amplifying their voices. Most notably artists like Kara Walker and Betye Saar, challenged notions of Black Women, identity, and the institution of slavery with their assemblage and silhouette cut out work. Additionally, Black women garnered their collective power with the establishment of the The Combahee River Collective, a black feminist organization, which convened in the 1970s to formulate a collaborative letter. Their work exemplified the collective power of Black women during this transformative period.
Global Feminism
Poster Courtesy of the Public Domain
Globally, Feminist art contributes to a richer, more diverse cultural tapestry. It challenges the dominance of Western art narratives and introduces stories and aesthetics from underrepresented regions. This inclusivity not only broadens the scope of artistic expression but also fosters greater understanding and empathy among audiences worldwide.
Women At War Exhibition Poster
For example, in Ukraine, the ongoing conflict has inspired a powerful exhibition called “Women at War.” Curated by Monika Fabijanska, this show features works by twelve Ukrainian women artists who have lived through the war. These artists express their experiences, emotions, and resilience through various mediums, including photography, paintings, and installations. The exhibition sheds light on the complexities of geography, historical roots, and the role of women in conflict. It also highlights the ties between Ukrainian national identity, the land, and the figure of the “great mother”.
By Bjørn Christian Tørrissen - Own work by uploader, https://bjornfree.com/travel/galleries/, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=89071957
In South Africa, Feminist art has had a profound impact on South Africa, challenging norms, amplifying voices, and promoting gender equality. South African photographer Zanele Muholi has dedicated their career to documenting the lives of LGBTQ+ women. Their striking images not only invite empathy but also demand action, shedding light on the resilience of marginalized individuals.By incorporating a global view, Women's art today is not just about representation; it's about creating a dialogue that spans continents and cultures, promoting unity, and celebrating the diversity of women's experiences.
Ende, Public domain, via Wikimedia Commons
Today, Women's art and Feminist art, are as diverse as ever, encompassing all styles and mediums. Both of these art forms play a multifaceted role in contemporary society, serving as a mirror, a catalyst, and a record. It reflects the current state of gender dynamics and societal values, offering insight into the lived experiences of women across various cultures and backgrounds. As a catalyst, Women's art can provoke discussions, challenge preconceived notions, and inspire change by bringing attention to issues such as gender inequality, identity, and representation. Efforts to promote women's position in society continue through their work in art, marking progress in global society.
Piece Quilt by Elizabeth Salter Smith circa 1870. Collection of the Smithsonian National Museum of African American History and Culture
Juneteenth, a contraction of “June” and “nineteenth, is celebrated on June 19th annually and carries immense significance within African American communities. The yearly celebration and national holiday formally recognizes African American freedom and liberation after the unjust forced enslavement of African peoples in the United States.
On January 1, 1863, President Abraham Lincoln issued The Emancipation Proclamation, which declared that enslaved individuals in Confederate states “shall be then, thenceforward, and forever free.” However, its enforcement in the Confederate South was inconsistent due to the ongoing Civil War. It would be two more years, in December of 1865, that the ratification of the Thirteenth Amendment which formally abolished slavery, would set the wheels of freedom for African Americans in motion.
General Order No. 3, issued by Maj. Gen. Gordon Granger, June 19, 1865. The order was written in a volume beginning on one page and continuing to the next. (RG 393, Part II, Entry 5543, District of Texas, General Orders Issued)
Sadly, due to some stubborn plantation owners' refusal to accept the changes put forth by the federal government, they decided not to tell their slaves of their freedom and continued to have them work illegally. This suppression of information was not uncommon for many African Americans working in fear and ignorance, clueless about the outcomes of the Civil War. Galveston, Texas, was one of those places. It is also the site of the announcement of General Order No. 3, delivered by Union Army General Gordon Granger on June 19, 1965.
Here you can listen to an audio recording of Wallace Quarterman, a freed slave from the sea islands, talk about Juneteenth with Zora Neale Hurston.
Making Juneteenth A National Holiday
Opal Lee at Juneteenth Legacy Project Headquarters in Galveston, Texas, May 29, 2021 Photograph by Erika Harrison under the Creative Commons Attribution-Share Alike 4.0 International license
Opal (Flake) Lee, widely recognized as the "grandmother of Juneteenth," is an esteemed retired educator and advocate. Born on October 7, 1926, in Marshall, Texas, Opal Lee is the daughter of Otis Flake and Mattie Broadus. During her childhood, tragedy struck when their family residence succumbed to a fire, compelling her father to depart in search of employment and causing a prolonged absence. Subsequently, when Opal Lee was ten years old, her mother relocated the family to Fort Worth. It was in Fort Worth that Opal Lee attended Cooper Street Elementary School. Upon learning of their presence in Fort Worth, Otis Flake joined his family. In an unfortunate turn of events, Mattie Broadus suffered an accident on a city bus, resulting in a legal settlement. The family utilized the settlement to acquire a property at 940 East Annie Street, located in the southern region of Fort Worth, in June 1939. Notably, as the first African American family to reside in the neighborhood, their presence stirred a hostile reaction, culminating in a distressing incident on June 19, 1939, when an enraged mob of 500 white residents set fire to their home.
During the 1970s Lee became active in her community and with the preservation of local African American history, which led to the establishment of the Tarrant County Black Historical and Genealogical Society, in 1977. From its inception the Tarrant County Black Historical Society organized the annual Juneteenth celebrations. Multitudes, as if summoned by ancestral whispers, converged upon that hallowed ground in remembrance of their foremothers and fathers . Each years the celebration drew thousands of attendees to Sycamore Park. For Lee, part of the celebration would include her waking to two miles--a symbol of the two years it took for liberation to reach Galveston, Texas.
At the young age of 89, Lee was determined to do more for Juneteenth. In 2016, she embarked on a transformative pilgrimage from Ft. Worth, Texas, to Washington, DC. During the 1,360-mile journey, Lee gathered 1.5 million signatures in support of making Juneteenth a national holiday when she arrived in Washington in January the following year. Her determination paid off when she witnessed President Joe Biden signing the bill on June 17, 2021, making it federal law.
This recognition reflects a growing awareness of African Americans' historical and ongoing struggles and the significance of remembering and celebrating emancipation. It's also a reminder how person can do a small thing and change the course of history. Symbolically Juneteenth establishes new traditions for African Americans. The holiday is a personal one that connects African Americans to their past while celebrating the achievements and cultural traditions that mark their African roots and their emancipation in America.
This Juneteenth, I spent time with my family eating steamed Alaskan Crab legs and a side of Jollof Rice, which has a bright red color. It is very common for African Americans to eat red foods during this celebration. I’ve listed some recipes below and an example of a Freedom Quilt craft to make with your friends and family.
Mocktail: Red Berry Juneteenth Punch Ingredients: • 2 cups of mixed red berries (strawberries, raspberries, cherries) • 1 cup of cranberry juice • 1 cup of pomegranate juice • 2 tablespoons of honey or agave syrup • 1 liter of ginger ale or club soda • Ice cubes • Fresh mint for garnish • Lemon slices for garnish • Additional berries for garnish Instructions:
In a blender, combine the mixed red berries, cranberry juice, pomegranate juice, and honey or agave syrup. Blend until smooth.
Strain the mixture through a fine-mesh sieve into a large pitcher to remove the seeds.
Just before serving, add ice cubes to the pitcher, and top off with ginger ale or club soda.
Stir gently to combine.
Serve in glasses garnished with a sprig of mint, a slice of lemon, and a few berries. This mocktail is not only refreshing but also pays homage to Juneteenth with its vibrant red color symbolizing perseverance and freedom.
In a large bowl, combine the buttermilk with 1 teaspoon of salt and 1/2 teaspoon of black pepper. Add the chicken pieces and ensure they are submerged in the buttermilk. Cover and refrigerate for at least 4 hours or overnight.
In another large bowl, mix the flour, paprika, garlic powder, onion powder, remaining salt, black pepper, and cayenne pepper.
Heat about an inch of vegetable oil in a large, deep skillet over medium-high heat.
Remove the chicken pieces from the buttermilk, allowing the excess to drip off. Dredge each piece in the flour mixture, ensuring it is well coated.
Carefully place the chicken pieces in the hot oil and fry until they are golden brown and cooked through, about 15-20 minutes, turning them occasionally. The internal temperature should reach 165°F (74°C).
Place the fried chicken on a wire rack set over a baking sheet to drain excess oil.
Serve hot, ideally with traditional sides such as collard greens, cornbread, and red beans.
Kilburn, B. W. , Publisher, Kilburn, B. W, photographer. Quilt exhibit, interior of Negro building, Atlanta Exposition. Atlanta Georgia, ca. 1896. Littleton, N.H.: Photographed and Published by B. W. Kilburn. Photograph.
Activity: Juneteenth Freedom Quilt Making Quilt-making has a rich history in African American culture, often used as a means for storytelling and expression. Making a Juneteenth Freedom Quilt can be a collective and educational activity. Materials: • Fabric squares (various colors with an emphasis on red) • Fabric markers or fabric paint • Needles and thread • Scissors • Rulers • Batting • Iron Instructions:
Before starting the activity, discuss the significance of Juneteenth and how quilts were used historically by African Americans for storytelling and coded communication.
Give each participant a fabric square. Ask them to design their square with a pattern or image that they feel represents freedom, heritage, or Juneteenth. They can use fabric markers or fabric paint.
Once the squares are completed and dried, arrange them in a pattern that will become the quilt.
Sew the squares together. Place the batting in between the quilt top and another piece of fabric for the backing. Sew all the layers together.
Encourage participants to iron their sections of the quilt for a finished look.
As a group, discuss the designs and what they represent, and reflect on the collective art piece that was created. This quilt can be displayed annually during Juneteenth celebrations as a symbol of unity, freedom, and cultural heritage.
Figure 1. Selma Burke in her studio. Black and white photographic print. 8 in x 10. Public Domain.
Selma Hortense Burke was a pioneering artist and activist whose work paved the way for a new generation of feminist artists. Burke, who considered herself to be "the people's sculptor," was the seventh child of ten, born in Moorseville, North Carolina in 1900. Her artistic career spanned more than six decades and encompassed a wide range of media, including painting, sculpture, and printmaking. Although she would become famous for her bas relief portrait of President Franklin Delano Roosevelt , Burke's early work focused primarily on the human form where she presented bold, accentuated, and sensual female forms which emphasized the softer side of Black feminity and the Black female body. Inspired by her relationship with her grandmother, and the closeness found between mother and child, her work often featured the universality of this dynamic The Virgin and Child typically represented within Catholic iconography. Her sculptures such as "Uplift" and "Mother and Child," could be considered thematic cornerstones of her work, signifying her evolution surrounding this powerful dynamic-- especially as it relates to Black women. Yet, in all of her works, she pulls you in with her deep sensitivity to the human form and a commitment to representing the beauty and complexity of the female experience.
The Passion of Selma Burke
Selma Burke's life was full of challenges from the very beginning. Her father, an AME Church Minister, worked on the railroads to supplement their income. When Burke was twelve, her father passed away, leaving her family struggling to make ends meet. During this time, she discovered her love for sculpture, molding riverbed clay between her fingers and feeling the satisfaction of creating something beautiful.
Despite these early hardships, Burke was determined to follow her passion for art. Her mother, however, had other plans for her. She didn't believe that art could provide a stable career and tried to discourage Burke from pursuing it. But Burke was determined and continued to explore her artistic talents in secret.
"It was there in 1907 that I discovered me.”
Selma Burke
After attending Winston-Salem State University, Burke graduated from the St. Agnes Training School for Nurses in Raleigh in 1924. She married a childhood friend, Durant Woodward, but their happiness was short-lived. Woodward died less than a year later, leaving Burke to pick up the pieces and start over.
With no other options, Burke moved to Harlem to work as a private nurse. Despite the challenges she faced, Burke remained committed to her art and began taking classes at Sarah Lawrence College. During this time, she became involved in the Harlem Renaissance cultural movement and formed a tumultuous relationship with the writer Claude McKay. McKay would destroy her clay models when he didn't find them up to his standards, causing conflict and tension in their already complicated relationship.
Figure 2. Photograph of students in a free art class at the Harlem Community Art Center, 290 Lenox Avenue, New York City, 1938. Photograph shows a group of elementary to high-school aged children in a class sponsored by the Federal Art Project.
Burke persevered, however, and continued to work on her art. She began teaching at the Harlem Community Arts Center and later worked for the Works Progress Administration on the New Deal Federal Art Project. Her travels to Europe in the 1930s allowed her to study under acclaimed sculptors Aristide Maillol and Henri Matisse, but the rising Nazi threat in Germany also caused tension and fear.
During World War II, Burke left her studio behind and worked in a factory as a truck driver for the Brooklyn Navy Yard. She believed that artists should contribute to the war effort, even if it meant leaving their art behind. Soon after completing her service to the war effort, she refocused her attention on her passions and enrolled in Columbia University, where she received her Master of Fine Arts degree. From there, Burke founded the Selma Burke School of Sculpture in New York City.
Selma Burke. Identification on verso. Federal Art Project W.P.A.; Photographic Division, Jamaica, NY. 1938. Public Domain.
Despite facing numerous obstacles throughout her life, her achievements were many. She received several honorary doctorate degrees, including one from Livingston College and one from Spelman College. Her contributions to art and education were recognized by Pennsylvania Governor Milton Shapp, who declared July 29, 1975, Selma Burke Day.
The Wanting of Embrace: Burke's Mother and Child
Figure 3. Selma Burke, Untitled (Woman and Child), ca. 1950, painted red oak. 3,456 × 5,184 (5.28 MB). Public Domain.
In Burke's 1950s untitled sculpture Woman and Child she captures the essence of the human experience. Selma Burke's work is characterized by a powerful interplay between safety and strength, set against nakedness and vulnerability. In her wood sculptures, Burke often utilizes red-painted oak to accentuate what could be interpreted as bruising and scars on her subjects. The figures she portrays are often lost in private moments, with their eyes cast downward as if in contemplation. One such painting depicts an anonymous woman providing a much-needed covering for a child, who reciprocates the embrace by throwing their arm over the woman's shoulder in a gesture of effortless reciprocity. This exchange of comfort and protection is profoundly moving and elicits a sense of relief and release in the viewer.
Through her deft use of woman-child iconography, Burke conjures an image that is familiar and deeply rooted in her own personal history. Perhaps this embrace, and symbol of deep maternal committment, was one she sought to experience in her own life. Woman Child in particular, juxtaposes the quiet strength of stillness, while using the power of a nurturing embrace to convey a sense of resilience, determination, and protection---which is considered a hallmark of Black motherhood. Burke's work often incorporates the wood of White Oak trees, due to its historical significance in Black American life. Throughout her work with this material she constantly rededicates her committment to the representations of perseverance defined by her ancestors and repurposes her pain into elegance and beauty.
"Art didn’t start black or white, it just started ... There have been too many labels in this world: Negro, Colored, Black, African-American ... Why do we label people with everything except Children of God?"
Selma Burke
Burke's American Dream
In 1979, Burke became one of the first women to receive a lifetime achievement award from the Women's Caucus for Art, where she was honored alongside fellow trailblazers with Isabel Bishop, Alice Neel, Louise Nevelson, and Georgia O’Keeffe. She received the award from President Jimmy Carter in a private ceremony in the Oval Office. Burke's work hearkens to Harlem Renaissance poet Langston Hughes' iconic poem, "I, Too," which celebrates the indomitable spirit of African Americans and women in America. Her life was a testament to the power of perseverance, creativity, and a commitment to social justice. Despite facing numerous obstacles throughout her life, she remained steadfast in her pursuit of art and advocacy, and left an indelible mark on American culture.
Her papers and archive are held in the collection of Spelman College.
In the months ahead my blog posts will feature interviews with past leaders of Women's Caucus for Art (WCA) in celebration of the WCA 50th Anniversary. The interviews are part of a project of the WCA Art Writer’s Committee, which produces Artlines and the WCA website blog Art Insights. WCA leadership will also be recognized at our February 2022 conference in Chicago: Occupy the Moment: Embracing our History, Enhancing our Impact.
It is fitting that my first interview in this series is with Ann Sutherland Harris - she was the first president of the Women's Caucus for Art and a founding member. Ann is a scholar, curator, author and activist. Using FaceTime for conversation and email correspondence, I was able to interview Ann as she shared some significant memories from her life about becoming a feminist art historian. It was an honor to have this opportunity and I want to express my sincere appreciation to her for her time and participation in this WCA Anniversary project.
Over the course of her career, Ann has written nine books and exhibition catalogues, more than a hundred articles and reviews, and participated in dozens of lectures and panels. As an educator for almost five decades, she taught at Columbia University; Hunter College, CUNY; and State University of New York, Albany, before joining the University of Pittsburgh as a full professor in 1984; she retired in 2012. Her awards include fellowships and grants from the John Simon Guggenheim Foundation; the Ford Foundation; the Andrew W. Mellon Fellowship, the Metropolitan Museum of Art; the National Endowment of the Humanities; the National Endowment for Art; and the J. Paul Getty Museum of Art. Ann is a WCA Lifetime Achievement Awardee (2005), the recipient of honorary doctorates, as well as Mademoiselle Magazine Woman of the Year (with Linda Nochlin, 1977) and Pittsburgh YWCA Woman of the Year in the Arts (1986).
17th century European painting and sculpture are Ann's main scholarly focus, especially Italian paintings and drawings, although her research, teaching and curatorial projects have included other subjects and time periods. Ann earned her BA at the Courtauld Institute of Art, London, graduating with first class honors in 1961, as well as her Ph.D. in 1965. Andrea Sacchi was the subject of her dissertation; her 1977 monograph on Sacchi is considered one the best studies of that 17th century painter. Ann has also published documents about, and identified drawings by Gian Lorenzo Bernini, the Carracci, Pier Francesco Mola and Pietro Testa, among others. Her book, Seventeenth-Century Art and Architecture (London: Laurence King), 2005; 2nd ed., 2008, was a highly regarded survey of the seicento, but is now out of print. Ann is currently working on a monograph of all the drawings of Gian Lorenzo Bernini, which she hopes to finish next year.
Ann says that she "has always believed that the study of any artist should include their drawings. When such studies survive and can be connected with known paintings, they reveal not only the artists’ preliminary ideas, but also changes made either to please patrons or satisfy the artist." To her "an unidentified 17th century drawing is an orphan seeking a home under the right name." She even owns a few such orphans herself that she still hopes to identify.
I first became familiar with the name Ann Sutherland Harris in graduate school during a course devoted to women artists – her trailblazing work was the foundation for our class. In 1976-77 Ann organized the groundbreaking exhibition Women Artists, 1550-1950, co-curated with Linda Nochlin, which presented the work of eighty three women artists from twelve countries. The show traveled across the United States from Los Angeles and Austin to Pittsburgh and Brooklyn, bringing wide public attention to women artists and gender issues that had been previously left out of the discourse of art history. The exhibition and the 367-page catalogue (I have one on my shelf!) changed art history. Today that mission of equality and inclusion is supported by many art historians, as the work for and about women artists is not yet finished. And Ann herself has continued to write about women artists past and present, such as Artemisia Gentileschi and Alice Neel.
Ann Sutherland Harris, 1983
Ann Sutherland Harris was born on Nov. 4, 1937, in Cambridge, UK. Her Scottish father, Sir Gordon B. B. M. Sutherland, was an accomplished physicist. A fellow of Pembroke College and Master of Emmanuel, Cambridge, his research focused on spectroscopy. Her Swedish mother, Gunborg Wahlström (Lady Sutherland), met her father when she came to Cambridge to work as a baby nurse for a Swedish woman married to a colleague of her father. Ann says her mother was a great cook, made beautiful clothes for her daughters, and could fix anything in the house. Education was important to both of her parents.
When asked I asked how she first became interested in art, Ann explained: “I was made aware of painting as a career very early because my Swedish grandfather, Filip Wahlström, was an artist. He painted many portraits and views of the city of Göteborg (Gothenburg) and other places in Sweden. My sisters and I stayed with them twice for the summer months and I saw his studio, works in process, and finished works in their house that had walls painted yellow and other colors I had never seen indoors before! On the last visit before we went to America, I climbed up on the rocks overlooking the entrance to the harbor and made a painting of the view. I remember adding touches of yellow here and there at the end, and when I showed it to the grown-ups, they praised my technique. I thought the word must mean using yellow!”
Ann and her family lived in Ann Arbor, Michigan during part of her youth; she attended Wellesley College as a freshman. It was at Wellesley that she took her first art history class and fell in love with the subject. After her first year of college, her family returned to the UK and Ann enrolled at The Courtauld Institute – the rest is (art) history… and an autobiography that I hope Ann will someday write!
An Interview with Ann Sutherland Harris
Ann Sutherland Harris, October 2021
MKM: What motivates your work as an art historian?
ASH: Nothing motivates me more than seeing a fine artist’s name being attached to works that are not by them. I believe it is my job to protect the reputation of the artists on whom I have published monographs or substantial articles. I have written complete or partial biographies of several Italian artists – Andrea Sacchi, Andrea Camassei, Pietro Testa, Pier Francesco Mola – none familiar names to the general public. A mistaken attribution may be below the level of quality of an artist whose work I know well: sometimes it may be a good work, but not by this hand. These attributions come from owners of drawings with ambitious attributions written on them (most artists in my period did not sign their drawings), or hopeful attributions written on the back of the canvas [and do have a chance sometimes], or are on the painting itself. Even these are sometimes added afterwards, and are not common on Italian seicento (17th century) paintings, though they are often found on Dutch painters’ works. I always study artists’ drawings as well as their paintings or sculptures, when possible, as they allow us to see them thinking through the process from start to finish.My role as a biographer of an artist is to identify and document as many of their works as possible and to describe the techniques, stylistic habits, mannerisms, color preferences, typical types of figures, etc. so that others can recognize this artist’s work when an unknown example emerges from attics or museum storage. For example, Artemisia Gentileschi (1593 - 1654) is much in the news now because many museums and collectors would like to have a work by her. The only complete study of her work was published in 1999 (by R. Ward Bissell), but new attributions keep emerging. Bissell listed 108 works by her recorded in old inventories that cannot be matched to works known today. Everyone agrees that many of these “new” works are probably not by her but there is rarely unanimous agreement about the most plausible candidates. I find this all fascinating! I also believe that it is important not to clutter up her production with paintings that fall short of her well-established levels of quality.
MKM: Is there a piece of research or writing that you are most proud of?
ASH: Yes – my survey of 17th century art and architecture in Italy, Spain, France, Holland and England. The only books available for my students covered both the 17th (Baroque) and 18th (Rococo) centuries but that meant very thin coverage of the many wonderful painters, sculptors and architects who transformed European art in the 1600 hundreds. I decided to study 17th century Italian art rather than any period of the Renaissance when I was a student at the Courtauld Institute because the centuries 1300 - 1600 had already been studied by scholars since the nineteen twenties. This was not true of the 17th century where many excellent artists had never been the subject of a monograph (art historian’s term for a biography).
Ann Sutherland Harris, Seventeenth-Century Art and Architecture (London: Laurence King), 2005; 2nd ed., 2008.
MKM: Outside of art history, what are some works of art from literature, music, or film, that are important to you?
ASH: I love good movies, and classical music, especially J. S. Bach [I am a mediocre pianist], and chamber music rather than symphonies. I used to read a novel or two in the summer. Now I am more likely to read autobiographies. I also have a garden to care for which is both rewarding and frustrating.
MKM: In addition to your work as a scholar, you have curated several exhibitions. Can you please tell us about your most memorable experience from curating the ground-breaking exhibition, Women Artists: 1550-1950?
ASH: Where to begin?! The opening at the Brooklyn Museum in 1977 was amazing – huge crowds, and I arrived in a limousine with Philippe de Montebello, then the Director of the Metropolitan Museum, where I had a job for a while. The opening in LA was much quieter but attendance soon grew to records. Memorable too were some of the responses from curators to whom we wrote to ask for loans . . . “Why do you want to show so many women’s works together? Do you think they’ll all look alike?”
Ann Sutherland Harris and Linda Nochlin, Women Artists 1550-1950 (Los Angeles: Museum Associates of the Los Angeles County Museum of Art, 1977), reprinted four times; sixth printing, (New York: Alfred A. Knopf, April 1984).
MKM: If you were organizing/curating an exhibition today, which artists (living or dead) would you like to show?
ASH: I think that Diane Samuels, an artist who lives in Pittsburgh, ought to be far better known. She has done some wonderful installations – one for Brown [University] in Providence, RI (a covered glass bridge between science buildings with quotes from scientists of the past, many suggested by students). Occasionally I have thought that an exhibition of artists’ portraits of their parents would be an unusual but revelatory. Alice Neel’s moving paintings of her mother would be in it but I recall seeing other examples that seemed among the best works by the artist in question . . . I should have taken notes!
MKM:Along with your work as a scholar and curator, you are celebrated for your feminist activisim. Over the course of your career, you served on several university committees concerned with the status of women, in 1970 you testified before the U.S. Congress Special House Subcommittee on Education in support of women’s equal rights in higher education, and you advised the establishment of the National Museum of Women in the Arts in Washington, D.C. You have been a champion of women on many occasions and in many ways. What strategy do you think best enables the women’s movement to continue to break down white male hegemony? Are there particular genres that you find are best suited for this task - such as the visual arts, performance, social activism, or writing?
ASH: They are all good . . . every time a woman does something amazing like getting a Nobel prize and it gets press coverage, it’s good for all women, especially in male-dominated professions.
Wherever we see an obvious discrimination against having women in positions of power or influence etc., we should speak up and at least point out the problem. I once threatened to come up on the stage and give the commencement address myself at a meeting of women concerned with women’s situations at Pitt – available childcare etc. Well, goodness me, the next graduation had a woman give the address! But not since, I think. The situation for women in higher education has changed enormously to our benefit since I and some other women made a fuss in 1958 (Columbia Women’s Liberation, we called our small group . . .) but salary differences persist, and of course those of us in the “humanities”, popular with women, earn a lot less than scientists, who are usually male. I also think that the focus on the situation of people of color in education at all levels is more deserving of focus and change now. This involves both sexes, obviously.
(left to right) Muriel Magenta, Linda Nochlin and Ann Sutherland Harris, c. 1980s
MKM: What are the specific spaces, be they academic, political, or otherwise, you deem imperative for us at this pivotal moment in history to occupy - to be agents of lasting change?
ASH: We always need to be alert and remember that now many – maybe most men - are feminists. My son spends as much time being a great father to his two daughters, and to cooking etc. as my daughter-in-law does. His father certainly didn’t! Still, it seems impossible for a woman to become President . . . I’d love to see Elizabeth Warren as President . . . but is this country ready for her?
MKM: Can you share a seminal experience of feminist activism?
ASH: Many . . . during the 1958 riots when students took over some of the dorms and classes were cancelled at Columbia, where I was an Assistant Professor, I was outside in the large plaza in front of the campus buildings and was standing near a cop in full masculine regalia on his motorcycle. “You work here?” he asked. I said yes. “You a professor? I said yes. Married?” I said yes. “I bet you have a lot of fights!” he said. I don’t think I responded but meeting me even briefly may have given him something to think about . . .
MKM: What would you like to impart to feminist art historians and artists today? What do you hope future generations will achieve? What should they know?
ASH: I really think that women have made so much progress compared with the world I knew in the nineteen sixties that I cannot think of anything. Women do not dominate the world of politics, but even here women like Nancy Pelosi and Stacey Abrams in Georgia are impressive political leaders in very challenging situations.
MKM: What did/do you most appreciate and enjoy as a member of WCA?
ASH: I love our awards ceremonies – so much fun and... moving.
MKM: What do you envision for the WCA community today, and in another 50 years?
ASH: No idea! I guess the WCA will go on as long as this national organization can link women artists with shared interests and goals, and a mutual interest in making sure our best artists get attention...
MKM: What’s the best piece of advice you’ve been given?
ASH: I tend to offer advice to others far too often so I often have to tell myself to shut up!
Ann with her granddaughters,2021
Ann Sutherland Harris' review of Artemisia will be published in the Fall/Winter issue of Women's Art Journal. To read the latest from Ann and learn more please visit: https://womansartjournal.org/42-2.php
